Books: 'Renaissance (stijl)'

1

Jansen, Jeroen. Brevitas: Beschouwingen over de beknoptheid van vorm en stijl in de renaissance. Hilversum: Verloren, 1995.

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2

Stephan, Hoppe, Müller Matthias, Nussbaum Norbert, Fitzner Sebastian, and Milošević Ana, eds. Stil als Bedeutung: Stil als Bedeutung in der nordalpinen Renaissance : Wiederentdeckung einer methodischen Nachbarschaft. Regensburg: Schnell & Steiner, 2008.

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3

Klotz, Heinrich. Der Stil des Neuen: Die europäische Renaissance. Stuttgart: Klett-Cotta, 1997.

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4

Mândrescu, Gheorghe. Arhitectura în stil Renaștere la Bistrița. Cluj-Napoca, România: Presa Universitară Clujeană, 1999.

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5

Karlsruhe, Staatliche Kunsthalle, ed. Von Schönheit und Tod: Tierstillleben von der Renaissance bis zur Moderne. Karlsruhe: Staatliche Kunsthalle Karlsruhe, 2011.

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6

1954-, O'Brien John, and Quainton Malcolm, eds. Distant voices still heard: Contemporary readings of French Renaissance literature. Liverpool: Liverpool University Press, 2000.

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7

Gnann, Achim. Raphael und der klassische Stil in Rom, 1515-1527. Mailand: Electa, 1999.

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8

Ångström, Inga Lena. Altartavlor i Sverige under renässans och barock: Studier i deras ikonografi och stil 1527-1686. [Stockholm]: Almqvist & Wiksell International, 1992.

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9

Ronberg, Gert. A way with words: The language of English Renaissance literature. London: E. Arnold, 1992.

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10

Attridge, Derek. Peculiar language: Literature as difference from the Renaissance to James Joyce. London: Methuen, 1988.

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11

Arbeitskreis für Hausforschung (Germany). Sektion Südtirol, ed. Der Überetscher Stil: Renaissancearchitektur an der Schnittstelle von Nord und Süd : Tagungsband der Regionalgruppe Alpen, 24. und 25. Oktober 2014, in Schloss Moos-Schulthaus, Eppan. Bozen: Athesia Verlag, 2018.

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12

The Algebra geometrica of Paolo Bonasoni circa 1575: Being the only known work of this nearly forgotten Renaissance mathematician, excepting a still unpublished treatise on the division of circles : the only reported manuscript, through the courtesy of the University of Bologna. Annapolis, Md: Golden Hind Press, 1985.

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13

School, Philly Free, ed. Sweet Pears (painting). Conshohocken, Pa: Internet Archive, 2016.

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14

Kazakova, Gandalif. The problem of formation of romantic historicism and rehabilitation of medieval culture in the creative heritage of F. R. de Chateaubriand. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1044190.

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The monograph is devoted to the literary and scientific heritage of the famous French writer, historian, philosopher, thinker, diplomat and statesman F. R. de Chateaubriand, whose scientific works were practically unknown to the Russian reader for many decades. Being the founder of French romanticism and laying the main elements of this direction of culture, F. R. de Chateaubriand nevertheless causes numerous disputes and questions. The monograph shows the process of formation of the writer's romantic worldview on the example of his early works, which still retain traces of the literature of the XVIII century and already carry new romantic trends of the XIX century. The author also presents the facts of the writer's biography and analyzes a number of his historical works devoted to medieval France. From the Renaissance until the end of the XVIII century, one of the elements of medieval architecture and Christian religion-Gothic architecture — was perceived as something negative, barbaric, rude, completely inconsistent with the aesthetics of the XVI — XVIII centuries. F. R. de Chateaubriand was one of the first researchers who discovered the beauty of Gothic churches and the color of national history to the mass reader at the turn of the XVIII—XIX centuries. The rehabilitation of Gothic architecture was accomplished by F. R. de Chateaubriand in his Treatise "the genius of Christianity". The famous "forest theory" of the origin of Gothic helped to "remove" negative assessments of the middle Ages and influenced the formation and development of romanticism both in France and in other European countries. It was F. R. de Chateaubriand's idea of the relationship between medieval architecture and Christian consciousness that influenced all the subsequent development and formation of the history of medieval art. For a wide range of readers interested in the history of literature.

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15

Jansen, Jeroen. Brevitas: Beschouwingen over de beknoptheid van vorm en stijl in de renaissance. Verloren, 1995.

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16

Schilderkunst in Florence tussen 1400 en 1430: Een onderzoek naar stijl en stilistische vernieuwing. [Leiden: Universiteit Leiden, 2004.

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17

Stil novo. [Milan, Italy]: Rizzoli, 2012.

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18

Römische Grabmäler der Hochrenaissance: Typologie, Ikonographie, Stil. Münster: Rhema, 2010.

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19

K, Johnson Michael. Can't Stand Still: Taylor Gordon and the Harlem Renaissance. University Press of Mississippi, 2019.

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20

K, Johnson Michael. Can't Stand Still: Taylor Gordon and the Harlem Renaissance. University Press of Mississippi, 2019.

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21

Johnson, Michael K. Can't Stand Still: Taylor Gordon and the Harlem Renaissance. University Press of Mississippi, 2019.

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22

Can't Stand Still: Taylor Gordon and the Harlem Renaissance. University Press of Mississippi, 2019.

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23

Quainton, Malcolm, and John O'Brien. Distant Voices Still Heard: Contemporary Readings of French Renaissance Literature. Liverpool University Press, 2000.

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24

(Editor), John O'Brien, and Malcolm Quainton (Editor), eds. Distant Voices Still Heard: Contemporary Readings of French Renaissance Literature. Liverpool University Press, 2000.

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25

(Editor), John O'Brien, and Malcolm Quainton (Editor), eds. Distant Voices Still Heard: Contemporary Readings of French Renaissance Literature. Liverpool University Press, 2000.

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26

Klaniczay, Tibor. Renaissance und Manierismus: Zum Verhältnis Von Gesellschaftsstruktur, Poetik und Stil. de Gruyter GmbH, Walter, 2022.

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27

Koozin, Kristine. Vanitas Still Lifes of Harmen Steenwyck: Metaphoric Realism (Renaissance Studies, Vol 1). Edwin Mellen Pr, 1990.

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28

L'Alba Del Rinascimento Ovvero Il Dolce Stil Novo. Solfanelli, 2019.

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29

Stein, Gabriele. Word Studies in the Renaissance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198807377.001.0001.

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The rediscovery of the classical texts of Greek and Latin antiquity, the progress in the sciences, and the immense extension of the geographical knowledge of the world during the Renaissance created an unparalleled need for vocabulary expansion in the European languages. Latin was still the language of learning, but a growing nationalism called for a lexical development in the vernaculars. The printing press made possible the production of dictionaries and their wide dissemination. Sixteenth-century Europe is linguistically characterized by a high productivity in dictionary publications. These are pan-European in character: they are based on the same Greek and Latin source texts, the same recognized authorial texts of the leading contemporary experts, they are polyglot for tradespeople and travellers, and they are multilingual for an educated readership. The present book investigates the relationship between these polyglot and multilingual works, demonstrates the influence of European scholarship (e.g. Ambrogio Calepino, Conrad Gesner, Hadrianus Junius, Robertus Stephanus), describes the authorial stance in word explanations, morphological analyses, and translations, and provides the first account of how early printers used typography to present the compiler’s lexical information on the page.

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30

Snyder, Jean E. Burleigh Spirituals and the Harlem Renaissance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0017.

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This chapter examines the controversy between Harry T. Burleigh and his colleagues and critics over the issue of spirituals during the Harlem Renaissance. Although Burleigh was still regarded as the pioneer and by most as the master arranger of spirituals during the mid-1920s, there were dissenting voices. Henry Krehbiel, for example, warned against oversophistication of African American folk music “by standardizing its form, making it conform to the standard of music of European conception.” Carl Van Vechten also criticized Burleigh and his colleagues for relying on the Hampton and Fisk collections for most of their arrangements. This chapter considers how Burleigh came to be the target of criticism from some of the most outspoken of the younger Harlem or New Negro Renaissance voices, as well as his counterargument that the movement was chauvinist and separatist, or sacrificed what he felt were basic artistic standards. It also discusses Burleigh's belief that the vast repertoire of spirituals must be preserved in simpler versions accessible to untrained singers, as well as in art-style transformations for professional singers.

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31

Low and high style in Italian Renaissance art. New York: Garland Publishing, 1997.

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32

The Dutch table: Gastronomy in the golden age of the Netherlands. San Francisco: Pomegranate Artbooks, 1994.

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33

Plimpton, Taylor, and Gary Evans. SOL Still Our Lions: The Rise, Fall, and Renaissance of Detroit and its Pro Football Team. Cresting Wave Publishing, 2022.

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34

Evans, Gary. SOL Still Our Lions: The Rise, Fall, and Renaissance of Detroit and Its Pro Football Team. Cresting Wave Publishing, 2022.

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35

Plimpton, Taylor, and Gary Evans. SOL Still Our Lions: The Rise, Fall, and Renaissance of Detroit and Its Pro Football Team. Cresting Wave Publishing, 2022.

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36

Evans, Gary. SOL Still Our Lions: The Rise, Fall, and Renaissance of Detroit and Its Pro Football Team. Cresting Wave Publishing, 2022.

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37

Evans, Gary. SOL Still Our Lions: The Rise, Fall, and Renaissance of Detroit and Its Pro Football Team. Cresting Wave Publishing, 2022.

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38

Preston, Katherine K. The Renaissance of English-Language Opera in America. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0003.

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This chapter examines the two most important English-language troupes active during the late 1860s and early 1870s. Caroline Richings, known as a “manageress” or “directress,” performed before, during, and after the Civil War. Her success shows conclusively that Americans of the immediate postwar period were still interested in English-language opera, even though most music critics believed that this style of performance was old-fashioned and passé. Many believed that Richings created the English-language-opera renaissance in America. The Scottish soprano Euphrosyne Parepa arrived in America in 1865 as part of an itinerant concert troupe and subsequently sang in Italian-language opera companies. Richings’s success and popularity inspired her, and she organized her own English-language troupe, which quickly eclipsed that of her competitor. The success of these two prime donne—especially in the face of skepticism about Americans’ interest in vernacular opera—illuminates the operatic tastes of American audiences in the immediate postwar period.

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39

Dover Masterworks: Color Your Own Still Life Paintings. Dover Publications, Incorporated, 2014.

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40

Murchison, Gayle. New Paradigms in William Grant Still’s Blue Steel. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0008.

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This chapter examines the aesthetics underlying William Grant Still's Blue Steel and contextualizes it as a Harlem Renaissance work engaged with the African past and Still's diasporic present. Composed in 1934, Blue Steel was envisioned by Still as an African American opera—one that not only treated an African American subject, but was also rooted in African American and African diasporic culture—namely, its syncretic religion, voodoo or voudon. The chapter first takes a look at Still's first exposure to and early attempts at opera before discussing his collaborators in the creation of Blue Steel. It then provides a summary of Blue Steel's plot and characters as well as its use of African music for conceptual approaches to representing Africa and Africanness through musical signifiers. It also examines how voodoo became a means for Still to express himself as a Harlem Renaissance artist by functioning as a multifaceted signifier of African identity within the New World.

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41

Battersby, Christine. Gender and Genius. Bloomsbury Publishing Plc, 1989. http://dx.doi.org/10.5040/9781350926790.

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During the Middle Ages and the Renaissance, women were blamed for having too much passion, imagination, and sexual appetite. By the late eighteen century, however, these qualities had been valued and appropriate for male artists. As new and old concepts of woman and genius clashed, there evolved a rhetoric of sexual apartheid which today still affects our perceptions of cultural achievement.

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42

Hartmann, Anna-Maria. English Mythography in its European Context, 1500-1650. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807704.001.0001.

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Greco-Roman mythology and its reception are at the heart of the European Renaissance, and mythographies—texts that collected and explained ancient myths—were considered indispensable companions to any reader of literature. Despite the importance of this genre, English mythographies have not gained sustained critical attention, because they have been wrongly considered mere copies of their European counterparts. This monograph studies the English mythographies written between 1577 and 1647 by Stephen Batman, Abraham Fraunce, Francis Bacon, Henry Reynolds, and Alexander Ross. By placing their texts into a wider, European context, it reveals the unique English take on the genre. The book unfolds the role myth played in the wider English Renaissance culture (religious conflicts, literary life, natural philosophy, poetics, and Civil War politics) and shows, for the first time, the considerable explanatory value it holds for the study of English Renaissance literature. Finally, this book is a contribution to the history of myth philosophy. It reveals how early modern England answered a question we still find fascinating today: what is myth?

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43

Attridge, Derek. Peculiar Language: Literature as Difference from the Renaissance to James Joyce. Routledge, 2004.

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44

Womack, Deanna Ferree. Protestants, Gender and the Arab Renaissance in Late Ottoman Syria. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474436717.001.0001.

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The Ottoman Syrians - residents of modern Syria and Lebanon during the Ottoman Empire - formed the first Arabic-speaking Evangelical Church in the region. Protestants, Gender and the Arab Renaissance in Late Ottoman Syria offers a fresh narrative of the encounters of this minority Protestant community with American Presbyterian missionaries, Eastern churches and Muslims at the height of the Nahda (or Arab renaissance), from 1860 to 1915. Drawing on rare Arabic publications, the book challenges histories that focus on Western male actors. Instead it shows that Syrian Protestant women and men were agents of their own history who sought the salvation and modernization of Syria while adapting and challenging missionary teachings. These pioneers included scholars, poets, novelists, activists, school teachers, Protestant pastors, evangelistic preachers, Biblewomen, and public speakers. Such Syrian Protestants established a critical link between evangelical religiosity and the socio-cultural currents of the Nahda, making possible the literary and educational achievements of the American Syria Mission and transforming Syrian society in ways that still endure today. Locating Syrian Protestant narratives within American, Ottoman, and global histories, this book brings Middle Eastern Studies into conversation with the field of World Christianity and explores questions of American-Arab relations and gender roles in the Islamic world.

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45

Onuf, Nicholas Greenwood. Traditional Societies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190879808.003.0003.

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Traditional society is modernity’s “other”—that against which we moderns identify ourselves as modern. We believe that we live in a world of extraordinary dynamism unlike any other, while other societies honor their traditions and change very little. If modernity gets its start in the Renaissance, as Foucault held In The Order of Things, then, by his account, the Renaissance was still a traditional society and remained so. In such societies, similarities among things-as-they-seem are always significant; similitudes make their appearance in and as normatively potent signs. Just as children learn cause and become agents by launching objects, people routinely give valued things away without expectation of return; reciprocity is secondary in social relations, even if it appears to define modern life. Instead the asymmetries of giving and receiving result in social distance, which rules of hospitality and appropriate conduct codify behind the screen of innumerably many exchanges.

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46

Ronberg, Gert. A Way With Words: The Language of English Renaissance Literature. Edward Arnold, 2000.

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47

Attridge, Derek. Peculiar Language: Literature as Difference from the Renaissance to James Joyce. Routledge, 2004.

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48

Luna, Antonio Bayés de. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198784906.003.0069.

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The electrocardiogram (ECG) is one of the simplest, inexpensive, safest, and reproducible techniques that exist in medicine. During the current renaissance of electrocardiography, we need to improve how to interpret an ECG. This is especially important because currently the automatic interpretation still needs medical supervision. In spite of the great relevance of the ECG in the diagnosis of heart diseases, this section also includes a chapter that expresses the limitations of the ECG, entitled ‘The abnormal ECG without apparent heart disease and the normal ECG in serious heart disease: two extremes’.

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49

Sweet Pears (painting). Conshohocken, Pa: IA, 2019.

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50

Irises and Scissors. Conshohocken, Pa: Internet Archive, 2015.

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Books on the topic 'Renaissance (stijl)'

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